Scottish Rite History – Page 8

Tales from a Scenic Artist and Scholar. Part 626 – Photographing Scottish Rite Scenery

Part 626: Photographing Scottish Rite Scenery

There was another significant moment that occurred during the 1909 Biennial Session of the Supreme Council of the Sovereign Grand Inspectors General of the Thirty-third Degree of Ancient and Accepted Scottish Rite of Freemasonry, for the Southern Jurisdiction of the United States of America.

It was an attempt to regulate the use of photograph images of Scottish Rite scenery in publications throughout the Northern and Southern Jurisdictions. Both Supreme councils would implement legislation to limit the amount of visual information that was released to the general public. In other words, they were trying to keep certain elements “secret,” noting that too much was being “shared” with the general public. Up to that time, pictures of Scottish Rite scenery were included not only in souvenir programs for Scottish Rite reunions, but also in newspaper articles. For example, there were photographs of two degree settings published in the “Topeka State Journal” depicting the Egyptian and Peristyle settings for the 31^st and 18^th degrees, respectively ( 30 Oct. 1909, page 6). In 1909 Grand Commander James D. Richardson called for a stop to this practice at the Biennial Session, citing legislation that had already been implemented in the Northern Jurisdiction. From this point on, the publishing of photographs depicting Scottish Rite degree productions or scenery was strictly forbidden.

Egyptian setting published in the Topeka State Journal

Peristyle setting published in the Topeka State Journal

This legislation mostly worked until the 1970, and is now impossible in the age of social media where most Scottish Rite Masons have a camera on their phone. Today there are photos of degree work all over social media – scenes from reunions on Facebook posts, tweets and instagrams of Masons in costume. It is just too tempting for members not to post pictures of things they love.

One example of social media depicting a Scottish Rite class in front of the Peristyle scene for the 18th degree

Similar scene form 1909 with Grand Commander James D. Richardson seated in the center – also showing the Peristyle scene for the 18th degree.

Image of a Scottish Rite degree team posed in front of scenery

Scottish Rite Masons posed in front of scenery at the Yankton Scottish Rite

However, 110 years ago, it was an entirely different issue when Grand Commander James D. Richardson realized that they needed to pull on the reigns of something that was becoming a runaway issue. In the section “Programmes of Reunions. Etc.” of the 1909 Transactions of the Supreme Council (page 64) Grand Commander Richardson commented,

“The inspection of the programmes published by some of our subordinate bodies announcing reunions, etc., and which are sent broadcast throughout the country, I think, will show that the form or ceremony conferring Degrees is advertised by illustrations in these programmes to an improper extent. Many of them are works of art and of exquisite taste. I have no desire to stop, or even discourage this attractive style of advertising, but am of the opinion that greater care should be exercised in the matter than is at present observed. When I was at the session of the Northern Supreme Council, September 1908, I heard with interest the discussion on this subject by Bro. Palmer in his Allocution. He had had his attention called to it by a request for permission to publish in a programme the photographs of the casts of some Degrees. I quote a portion of his reply to this request, as follows:

‘I have to say in reply that the rituals of the Scottish Rite Degrees, like those of all other Degrees in Freemasonry, are secret in all respects. The rituals of Freemasonry constitute its methods of teaching great truths to those who apply for and are found worthy to receive them. These rituals and methods of communicating them to those who have been duly chosen to receive them, in my judgment, rank with secrets of Freemasonry and should be most carefully guarded. No part of the forms or ceremonies connected with the conferring of Degrees, or any of them, or any part thereof, should be published or exhibited to those Masons, either by photographs, written or printed circulars, or advertisements in newspapers, either before or after the Degree or Degrees shall be conferred, and being of this opinion, I was obliged to decline to comply with the courteous request.’

This portion of the address was referred to committee. The committee reported the resolution which was adopted, and which declared, “That it is not permissible to print, publish, distribute, or exhibit any illustration of any part of the rituals, form, or ceremonies, connected with the conferring of degrees of the Ancient and Accepted Scottish Rite, or any of them, or any part, or synopsis, in any manner of form, to the public, or to any one entitled thereto.”

I think it would be wise for the Council to adopt this, or a similar resolution. I am of the opinion that it would be well to require that all programmes and announcements of reunions should be submitted to the Inspector General, or Deputy of the Supreme Council in a jurisdiction where there is no Inspector-General for his approval before they are published and distributed.”

Fast forward ahead eight decades. A small troupe of theatre professors cross the country, documenting historic scenery collections in Scottish Rite theaters. This group, partially funded by USITT travel grants, included Lance Brockman, Larry Hill, Rhett Bryson, and Bruce Brockman. Whether together, or separate, each of the men spent hours gaining access to these significant historic scenery collections and documenting the painted scenery and stage effects.

Their visits caused quite a stir and soon a letter was sent out to every Scottish Rite Valley in the Southern Jurisdiction with the following announcement from the Grand Secretary General:

March 6, 1984

“TO ALL ACTIVES, DEPUTIES AND SECRETARIES

Dear Brother:

It has been brought to our attention that requests have been made in several Valleys in the Southern Jurisdiction to take photographs of the backdrops used in our ritualistic work. Further information has indicated that the individuals pursuing this project have no knowledge of Masonic ritual and consequently have engaged in useless and ignorant speculation concerning the uses to which these backdrops might be put. These discussions lead to derogatory criticism of Masonry.

My suggestion would be not ever to let anyone take photographs of any of the backdrops used in ritualistic work for other than Masonic purposes. This policy should eliminate future problems of this type.

With best wishes,

Cordially and fraternally yours,

Fred Kleinknecht

Grand Secretary General”

This action may have been the equivalent to throwing water on a grease fire. It was not out of spite that the men continued their documentation, but out of an understanding that the historic scenery collections were valuable cultural artifact shared by both the Fraternity and American public; each had a place within American history as well as Masonic history. Thankfully, the photographic documentation continued as Brockman trudged along with his research, soon facilitating the acquisition of two primarily Masonic scenery design collections – the Great Western Stage Equipment Company collection and the Holak Collection – for the Performing Arts Archives at the University of Minnesota from 1988-1991. These were the two collections that I processed with two Undergraduate Research Opportunity Grants while working on my undergraduate degree at the University of Minnesota.

In 1992, the symposium “Theatre of the Fraternity: Staging the Sacred Space of the Scottish Rite” was held from September 10 – 12 in Minnesota. This event was supported by the National Endowment for the Humanities and the University of Minnesota. Activities included a presentation at the Minneapolis Scottish Rite and even a trip up north to visit the Duluth Scottish Rite. The support for the “Theatre of the Fraternity” continued and by 1996, the touring museum exhibit “Theatre of the Fraternity: Staging the Ritual Space of Freemasonry, 1896-1929” opened at the Weisman Art Museum at the University of Minnesota before crossing the country. The exhibit was conceived and curated by Prof. C. Lance Brockman. A catalog was published in conjunction with the exhibit, including contributions by Kenneth L. Ames, William D. Moore, Mary Ann Clawson, Mark C. Carnes, C. Lance Brockman and Lawrence J. Hill. A few more years went by and many of these Masonic Designs became available for the general public in an online database (https://umedia.lib.umn.edu/scenicsearch). This was the project that I helped with in both the design, selection and entering of metadata for each item.

In additional to archival work, I entered into the fray thru the back door of the Scottish Rite – the stage door – restoring deteriorating scenery and replicating historic compositions for various Scottish Rite theaters across the country. However, it was never simply about the art, restoration, or historical scene painting techniques. Working as an assistant to Prof. Brockman, provided me with the incentive to use the subject for my doctoral dissertation: “Scenic Shifts Upon the Scottish Rite Stage: Designing for Masonic Theatre, 1859-1929” (UMN 2009). All the while, membership in the Scottish Rite continued to decrease. Scottish Rite Valleys began closing their buildings and moving to alternative locations. If the new space did not permit the use of their old scenery, entire collections were abandoned or disposed of over the years. In some cases, photographs of Scottish Rite scenery taken by a handful of theatre professors and practitioners are the only thing that remain of these glorious collections. More will disappear in the decades to follow and I have to wonder which ones will survive.

My concern for this loss of this history is one of the reasons that I now daily publish digital images of Scottish Rite scenery to my public FB group Dry Pigment. I hope to raise awareness of this valuable resource for not only theatre practitioners, but also historians. It is also why I pushed so hard to include a degree portfolio, featuring the twenty-nine settings of the 1912 Santa Fe Scottish Rite stage in “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018). Full-page color plates of Scottish Rite degree productions, complete with costumed actors and props, may be all that is left someday. Believe me, convincing a secret society to publically share images of their scenery for all the world to see is no small feat, especially when I was very familiar that this fight had been occurring since 1909.

However, I am not alone, as many Scottish Rite Valleys across the country are attempting other ways to increase membership and sharing their stage. Opening up their doors to the public is one option to increase revenue with rentals. Here is an article in South Dakota magazine that explains why declining membership is prompting some Masons to shed the mystery. This is quite an interesting article that reads a bit like an advertisement:

https://www.southdakotamagazine.com/masons-losing-the-mystery

To be continued…

Tales from a Scenic Artist and Scholar. Part 625 – The 1909 Scottish Rite Repeal

Part 625: The 1909 Scottish Rite Repeal

Cap for an active Sovereign Grand Inspector General of the Scottish Rite

There were many resolutions passed at the 1909 Biennial Session of the Supreme Council of the Sovereign Grand Inspectors General of the Thirty-third Degree of Ancient and Accepted Scottish Rite of Freemasonry, for the Southern Jurisdiction of the United States of America. Topics discussed varied from translating the rituals into Spanish to the purchase of an automobile. One specific action is often cited as the most significant one of the session – the call for the “enlargement, or extension, of the present House of the Temple or for the erection of a new one.” A side note to this action is often attached to Grand Chancellor William Frank Pierce (Inspector General of California) who missed the session due to a family illness. Pierce met with Grand Commander James D. Richardson shortly after the close of the session and strongly advocated for the construction of a new House of the Temple instead of merely enlarging the current one.

Pierce was responsible for proposing an action four years earlier– one that was repealed during his absence in 1909. His resolution in 1905 gave the leaders of the Southern Jurisdiction an incentive to rapidly increase membership in each region, one that ultimately secured the much necessary funding to propose a new House of the Temple in 1909. Looking at both Pierce’s resolution and its 1909 repeal provides us with some of insight into the Scottish Rite during a period of unprecedented growth.

The 1905 “Transactions of the Supreme Council” reported:

“Inspector Pierce, from the Committee on Finance submitted the following:

Resolved, That each Sovereign Grand Inspector-General and each Deputy of the Supreme Council shall be entitled to receive as payment for expenses incurred in the discharge of his duties for the Rite, two dollars for each Thirty-second Degree conferred within his Jurisdiction.

Resolved, further, That said sums shall be immediately paid by the Secretary-General to the Sovereign Grand Inspector-General or Deputy of the Supreme Council, but only after all the reports have been received from and all payments have been made to the Supreme Council, as required now by the Statutes for the fees, dues, books and patents from his Jurisdiction.”

The purchasing power of $2 in 1905 is about $57.07 today.

Well, that was one way to make sure Scottish Rite Valleys paid their bills – giving the heads of each Orient an incentive to put pressure on the Valleys to pay their fees, dues, books and patents in a timely manner. From 1905-1909 sixteen new Scottish Rite stages were constructed and outfitted with scenery by Sosman & Landis. Similarly, Toomey & Volland studios outfitted 10 new Scottish Rite theaters during this time period. All told, twenty-six Scottish Valleys built new theaters across the country. That is significant growth in a five year period. A lot of money was collected from the Valleys as new members were initiated into the various Scottish Rite Bodies, with a percentage being passed along to the Supreme Council. So how much money are we really looking at? For example, the total Scottish Rite fees for the four petitions to become a 32^nd degree Mason in Wichita were $133.50:

Lodge of Perfection (4-14 degrees) $22

Chapter Rose Croix (15-18 degrees) $25

Council Knight Kadosh (19-30 degrees) $30

Consistory (31-32 degrees) $56.50

The continued annual dues for each Scottish Rite Body were $1 per body, or $4 per 32^nd degree Mason annually.

We will start with a baseline number -the number of total men who became 32^nd degree Masons (being initiated into the Consistory) in 1904. Of the 53 Consistories in the Southern Jurisdiction during 1904, there was a gain of 3,426 32^nd degree Masons – so that many members paid a fee with their Consistory petition, after having already paid petition fees for the Lodge, Chapter and Council. This number was know to all the active SGIGs and Deputies when the resolution passed in 1905. The next, year 32^nd degree petitions numbered 3025, at $2 per incoming 32^nd degree Mason, $6,050 paid to the SGIGs and Deputies (today’s equivalent of approximately $173,000). I think of it as something similar to a sales commission.

By 1909 the number initiated into the Consistory that year was 4,602. If $2 was distributed to the SGIGs and Deputies for each new 32^nd degree Mason during 1909, that would be a total payment of to the various SGIGs and Deputies of $9,204.00, or today’s equivalent of almost $255,000. To put that amount in perspective, from membership dues alone, the Scottish Rite took in $102,202.75, today’s equivalent of $2,821,615.77.

In 1909 public school teachers were making $492/year, state and local government workers were making $699/year, and Health Services Workers were making $338/year. For the building trades, the hourly wage was $0.52/hour ($20/week), with the average hourly wage at $0.22/hour ($8/week). Butter was $0.39 per pound and eggs were $0.36 per dozen. Also keep in mind that the role of SGIG was often held in addition to a full-time profession.

In 1909, Inspector Cunningham, offered the following resolution which was adopted:

“Resolved, That the resolution adopted at the session of the council for 1905, providing that each Sovereign Grand Inspector-General and Deputy of the Supreme Council, shall be entitled to receive as payment for expenses incurred in discharging his duties for the Rite, two dollars for each Thirty-second Degree, conferred within his Jurisdiction, be and the same is hereby repealed.”

Harper S. Cunningham, Sovereign Grand Inspector for New Mexico, seated in the center of a Scottish Rite Class in the stage used before the new 1912 Scottish Rite Cathedral was completed in 1912.

To be continued…

Tales from a Scenic Artist and Scholar. Part 624 – The Scottish Rite, Southern Masonic Jurisdiction 1909

Part 624: The Scottish Rite, Southern Masonic Jurisdiction 1909

For me, it is hard not to look at the Scottish Rite during the first two decades of the 20^th century with out thinking of a line from the musical “Hamilton,” – history has its eyes on you. A similar sentiment was expressed in 1909 by then Grand Commander James D. Richardson. He stated the following during his Allocution, “The Rite is in our hands now, and those who are to succeed us will have the right to hold us to strict account for our faithfulness or unfaithfulness, for our wisdom or unwisdom, in passing it on to them. We are apt to flatter ourselves with the comforting thought that the Rite is in safe and sane hands, but it is the dangers of the future I would caution you against. It was a wise old Chinese philosopher, Lastsze, who said, “Contemplate a difficulty when it is easy, Manage a great thing when it is small.”

The Supreme Council of the Sovereign Grand Inspectors General of the Thirty-third Degree of Ancient and Accepted Scottish Rite of Freemasonry, for the Southern Jurisdiction of the United States of America, met in Biennial Session in Washington, D.C., on Monday, October 18, 1909. The Supreme Council was opened by Grand Commander James D. Richardson. Representatives from Supreme Councils in other countries, included England, Ireland, Canada, Columbia, Peru, Brazil, Mexico, Paraguay, Uruguay, Italy, Sweden, Greece, Denmark, Switzerland, and Belgium.

Grand Commander James D. Richardson, seated, with Jno. M. Gibson, Grand Commander of the Supreme Council of the Dominion of Canada (left) and Samuel C. Lawrence, Grand Commander of Supreme Council, Northern Masonic Jurisdiction.

Richardson’s Allocution addressed the continued growth and expansion of the Scottish Rite:

“It is becoming a power in our land, but is really in its infancy. It struggled along for the first half of the last century with barely sufficient strength or vitality to prove that it was alive. The revival began nearly fifty years ago, but its progress for the quarter of a century following was slow and tedious. Within the past two decades of years a new light has shone upon us, and no man can foretell the greater glory that is to come to the Order. The marvelous progress we are witnessing year by year, and the greater power and influence that await the Rite in the future create the imperative call for the wisest and best men in the land. And as its power and influence increase, its duties and responsibilities will correspondingly grow. In order to grapple with them successfully, we must bring into our ranks, not only the best men of the country, but we must enlist in our service those of superior breadth of mind and strength of intellect. Men of talents, as well as men of honor, are required in our work. The Scottish Rite needs students and thinkers who are willing to serve, not merely in the routine of interpreting the degrees and exemplify in its Rituals, but in the development and in giving wise direction to its forceful power and influence” (Transactions of the Supreme Council, 1909, page 12).

Richardson continued, “At one city, and that not a large one, in a western state of our Jurisdiction, I was highly pleased to see the Governor of the State, the Judge of the United States Court and four or five judges of the state courts, including the Chief Justice, and two or three clergymen with several leading physicians and attorneys, all actively assisting in the degree work.” Richardson continued to list numerous examples of members with important political ties to the country. This was really no different than many other Masonic addresses to it membership.”

There was one more section that caught my attention, however, that acknowledged the continued search for members: “The time has passed, if it ever existed, when we needed to go forth on the hunt for members, in order that the Rite might be supported, and pay for its Temples. But the time has not passed, nor can I contemplate any future period, when will need not need men of brains, intellect, culture, and marked ability, men in the old Roman sense of the word vir. Of such men our ranks cannot be too crowded.

Many in the Scottish Rite realized that membership was booming and funds were rushing in like never before, allowing massive buildings to be constructed at an unprecedented rate. Would future funds be allocated to the maintenance and repair of those buildings, or become liberally wasted on temporal pleasures and projects? Would the Rite anticipate times of membership decline or economic disasters? Which Valleys would really plan for their future and the experience of future generations? Which Valleys would, “Contemplate a difficulty when it is easy” or “manage a great thing when it is small?” It is hard to understand the dynamics in each Valley, the individual power plays, or those who rose through the ranks to simply glorify themselves. Not everything makes its way into the history books or even the minutes. Many are silenced by those in power at the time.

Looking at the current state of many Scottish Rite Valleys, only a few truly looked toward the future with caution and conservative planning, investing in their building’s maintenance and financial stability to withstand future obstacles. One example is Omaha, Nebraska.

In 2019, many Scottish Rite Valleys are faring poorly or just hanging on by a thread, citing the crippling effects of a rapidly declining membership and the increased expenses of maintaining enormous buildings. Others are renovating their spaces and preparing for a sale to later downsize. More is being lost than gained and it is simply a waiting game. Knock on a door and document that scenery now, before it is too late.

To be continued…

Tales from a Scenic Artist and Scholar. Part 623 – “Patron Saint” of the Scottish Rite, Albert Pike

Part 623: “Patron Saint” of the Scottish Rite

There was an interesting article that I stumbled across while looking for information about Scottish Rite theaters in Kansas. It concerned Gen. Albert Pike, Grand Commander of the Scottish Rite for the Southern Jurisdiction from 1859 until his passing in 1891. Born in 1809, Pike revised the Scottish Rite rituals in 1857, unifying the degrees. For those unfamiliar with the Ancient and Accepted Scottish Rite of Freemasonry’s theaters and degree productions, this may help clarify why scenery was added during the mid-nineteenth century. Part of Pike’s ritual revision included specific decorations for the various apartments, or necessary settings for each degree. You see, the degree work often included dramatic sections.

Pike’s “Magnum Opus” was replicated in the Northern Jurisdiction by Charles T. McClenachan in his “The Book of the Ancient and Accepted Scottish Rite of Freemasonry.” There is some debate regarding how much McClenachan directly copied from Pike that I won’t get into today. What McClenachan did add into his publication was illustrations of the various apartments, providing visual reference for those purchasing painted settings and draperies for their Scottish Rite lodge room, or stage.

Over time Scottish Rite legislation in both the Southern and Northern Jurisdictions mandated that five of the Scottish Rite degrees had to be conferred in “full form.” This indicated the mandated use of costumes, props and scenery to stage dramatic enactments of certain scenes. At first five in number, these degrees were referred to as “Indispensable” or “Obligatory” degrees and included the 4, 14, 18, 30 and 32. Increasingly theatrical interpretations with scenic elements were used in the center of the lodge room. This was similar to a “theatre in the round” production, with audience members on all four sides.

Soon, small elevated stages were added to include even more elaborate backings for the dramatic sections. For example, a cut out tomb might first be introduced as a profile piece, complete with flip jack, or booked sides. On a stage, the tomb would be painted on a backdrop, maybe even with wooden supports for a practical opening. Each tomb had the same characteristics, yet the presentation changed as the lodge room space was altered, eventually becoming a state-of-the-art theater with hundreds of seats. Simultaneously, the ritual work transitioned from initiating a single candidate to using an exemplar to represent an entire class of candidates in the various staged degree productions.

Pike was adamant, however, that the dramatic portions of each degree were NOT meant to be big melodramatic and theatrically staged affairs. After his passing in 1891, however, plans for Scottish Rite theaters throughout the Southern Jurisdiction immediately commenced with two of the first full-fledged stages being completed in Little Rock, Arkansas and Oakland, California during 1896. The Northern Jurisdiction (geographic region north of the Ohio River and East of the Mississippi) had been constructing Scottish Rite theaters since the 1860s. The degree productions proved time and time again to be an incentive for Blue Lodge Masons to join the Scottish Rite.

With that little bit of background about Grand Commander Pike, here is a wonderful article published in the “Evening Kansasan-Republican on Dec. 29, 1909, celebrating the 100^th birthday of Pike (page 1).

Honor “Patron Saint”

—-

Scottish Rite Masons Observe Centenary of General Albert Pike

Washington, D.C., Dec. 29:-Scottish Rite Masons everywhere unite today in paying honor to the memory of Gen. Albert Pike, known as the “patron saint” of Scottish Rite Masonry, on the one hundredth anniversary of his birth. Plans for a widespread observance of the centenary were perfected at the meeting of this city last October of the supreme council of Scottish Rite Masons for the Southern jurisdiction. In further commemoration of the anniversary the supreme council has distributed among its members two hundred medals, bearing an image of the head and bust of General Pike and with an appropriate inscription.

Though General Pike is best remembered for his services to the Masonic fraternity, these do not by any means constitute his only claim to fame. In the course of his stirring career he fought with distinction in two wars, attained national prominence as a journalist and was known as one of the most able lawyers in his day. He also found time to write much credible poetry.

General Pike was a product of Massachusetts and in his youth attended Harvard University and subsequently taught school at Newburyport. At the age of 21 he went West and engaged in exploring the country. In 1832 he located in Arkansas, where he taught school for a time and then engaged in newspaper work. In 1835 he was admitted to the bar. Upon the outbreak of the Mexican war he recruited a company of cavalry, which he led at the battle of Buena Vista. He returned to his extensive law practice in 1849, and in 1853 transferred his office to New Orleans, returning to Arkansas in 1857. As attorney for the Choctaw Indians, he obtained the award of nearly $3,000,000 from the United States Government.

At the beginning of the Civil war, he was appointed Confederate commissioner to negotiate treaties of alliance with the Indians. He was appointed a brigadier-general in the Confederate

Army and took the leading part in the battles of Pea Ridge and Elkhorn. In 1866 he removed to Memphis, where he edited a newspaper and two years later he came to Washington to practice law.

General Pike was grand commander of the supreme council of the 33^rd degree of Masons, and was also grand commander of the royal order of Scottish Rite Masons. He compiled numerous Masonic rituals and also wrote a famous reply to Pope Leo XIII’s tirade against Masonry.”

Not everything in the article is correct, by it paints a pretty picture of Pike. Keep in mind that 1909 was a period of unprecedented membership growth in the Southern Jurisdiction and Scottish Rite theater construction was booming throughout to country. Scottish Rite Valleys in the Western region of the Southern Jurisdiction were surpassing their eastern counterparts in terms of membership and funding, especially in Kansas. There was space to build massive structures in a region of seemingly unlimited resources. For Scottish Rite Masonry, theatrical interpretations of degree work became the proverbial “goose that laid the golden egg.” Would Pike have approved of the ever-increasing stage effects and settings to accompany the degrees? No.

Pike spoke out against the Northern Masonic Jurisdiction’s performance of staged degree productions throughout his lifetime. In his 1882 Allocution, Pike stated, “The Rite in this Jurisdiction is a Rite of instruction, and not of scenic pomp and stage-show.” Pike also said, “I can not conceive of a more useless occupation than the arranging and performing of degrees, neither the effect nor the purpose of which is to make men wiser or better, but which are acted as melodramas, to gratify an aesthetic taste and please the imagination, like the pageantry of cardinals and orioles.”

That being said, men joined in droves and loved the Scottish Rite productions. After all, everyone had a chance to become a star.

To be continued…

Tales from a Scenic Artist and Scholar. Part 621 – Meanwhile in Lawrence, Kansas

Part 621: Meanwhile in Lawrence, Kansas

In 1909, the Topeka Scottish Rite membership was soaring and the scenery provided by Sosman & Landis to the Valley in 1906 was still an unprecedented success. Meanwhile in Lawrence, Kansas, there were new plans a brewin’…

“The Lawrence Daily World” included the article “Scottish Rite Temple Here” (29 April 1909, page 1). The first four lines printed in bold included:

Plans Are Underway for a $20,000 Building

AN OLD MUSIC HALL CORNER

Secured Option on Property Today for $10,500.

Will Probably Erect New Building This Coming Summer – To Help Masonry Here.”

There you have it; big beautiful buildings incited men to join the Ancient and Accepted Scottish Rite of Freemasonry. The bigger, the better. Impressive edifices signaled a successful group of men doing exciting things.

Little did Lawrence Masons realize that their vision for the future would never last. Could they have even conceived that by the summer of 2018, the Lawrence Scottish Rite Bodies would move once again from a space in a shopping mall to a nondescript metal warehouse.

Home of the Scottish Rite in 1911. Lawrence, Kansas.

Home of the Scottish Rite in 2018. Lawrence, Kansas.

As we drove through Lawrence on our way home last summer, I desperately tried to find the current Scottish Rite location; we were making stops along the way from Santa Fe to Minneapolis. After making several circles around a shopping mall parking lot, we finally found the new building a few blocks over, and my expectations were crushed. I have never encountered any building with less character and I could not help think of the irony when reflecting on the degree work that heralded King Solomon’s Temple and the chief architect Hiram. I could hear the arguments to move to a smaller, and less-expensive location, citing declining membership and increasing building expenses. I am sure not all jumped on board as the Scottish Rite Masons left their magnificent home.

So lets go back to 1909 and see how these beautiful buildings ushered in a wave of membership and newspapers reported that new buildings were being constructed to “Help Masonry”

The Lawrence Daily World” reported,

“A committee of five from the Ancient and Accepted Scottish Rite lodge of Perfection visited J. B. Watkins this morning and secured an option for the old Methodist church at the corner of Berkely and Massachusetts street, for $4500 less than what Mr. Watkins figured was a reasonable interest on his investment.” Today’s monetary equivalent of $4500 in 1909 is $124,173.79. That is a lot of money to give up for a good cause, even if you are a Mason.

The article continues, “Mr. Watkins made this special price of $10,500 because he said he considered the property as sacred ground, and favored a Scottish Rite temple being built on the site.

This encouragement and the words of Governor Stubbs in Topeka yesterday, that the Scottish Rite body of Lawrence ought to have a temple, together with the enthusiasm of the fifty members present at the meeting last night, and the recent words of Grand Inspector General Thomas W. Harrison, of Topeka, encouraging the Scottish Rite bodies to press forward enthusiastically and increase their membership and build a building if they ever expected to have a consistory here, all seemed to make this an opportune time to seize this opportunity and start immediately effecting plans for the building, and raising the money from the members by subscription to stock to build a temple that would easily accommodate and enrolled membership of a thousand.

A Lawrence consistory of 32^nd degree, Ancient and Accepted Scottish Rite Masons would have jurisdiction over the state of Kansas, except those countries in which there were already established consistories – like Topeka, Wichita, etc. Also it would have the added advantage of securing new members from among the student Masons attending K. S. U., besides the 500 Blue Lodge Masons in Lawrence, and all Blue Lodge Masons in adjoining towns, the insuring continued and rapid growth and assured success to the enterprise.

The plans are estimated to require an expenditure, all told, or some $20,000, and figured on a strictly business basis of income from the building, and increase in the membership to create a sinking fund expected to clean up its indebtedness in from five to seven years, as that has been the history of the success of every Scottish Rite body that has taken an aggressive stand and started to build a temple, as can readily be proven by the records of the many temples in Kansas.

It is eminently fitting that the Lawrence bodies should have a template of their own, as it was the first Scottish Rite organization in Kansas, and has installed the bodies of the Topeka, Fort Scott, and most of the other prominent lodges in the state.

This is also a good thing for Lawrence, and the Masonic bodies in general, as it is aiding to cement them all the more closely together, and is evidence of the rapid march of Lawrence to the front as one of the wide awake towns in the state.” The Ancient and Accepted Scottish Rite Cathedral Committee of Lawrence Kansas, was listed as J. H. Cohn, C. W. Murphy, F. P. Smith, T. J. Edmonds, and Frederick Crowe.

In 2003, the “Lawrence Journal-World” included the article “Landmark sheds its wraps; Masons seek temple buyer” (14 May 2003). The executive secretary of the Scottish Rite commented that the Scottish Rite in Lawrence, Kansas, was “Faced with aging membership and ever-increasing costs.” Lawrence-area Freemasons decided to sell the majestic Scottish Rite Temple.

Executive Secretary of the Lawrence Scottish Rite in an article that reported the intended sale of the Masonic Temple. He is pictured in front of a Sosman & Landis backdrop. At the time, area Mason believed that nearby college students created the scenes.

The Scottish Rite auditorium pictured in 2003.

The asking price for the 1911 Egyptian-Revival style building was $775,000. At the time, the stage included 55 backdrops. It was another collection that Thomas G. Moses recorded being responsible for at Sosman & Landis. The fate of the scenery is currently unknown.

Sosman & Landis backdrop created for the Lawrence Scottish Rite, 1910.

To be continued…

Tales from a Scenic Artist and Scholar. Part 620 – 1909 Masonic Work – Topeka

Part 620: 1909 Masonic Work – Topeka

In 1909, Moses wrote, “The Dallas Masonic work came in early, so did San Francisco and Cleveland, Ohio.” He also commented, “I think we should turn out some work and we do. It is often a puzzle to me where it all goes, but the Masonic work requires a lot of time, and there is an average of eighty drops in each order so it makes plenty of work and is very interesting. The artists never grumble when they get it to do.” That year, Moses also supervised scenery collections for Scottish Rite theaters in Kansas City, Kansas; Winona, Minnesota; and Atlanta, Georgia. From 1906-1907, he had already supervised scenery for Scottish Rite theaters in Detroit, Michigan; Topeka, Kansas; Fort Wayne, Indiana; Salt Lake City, Utah; Wheeling, West Virginia; Dubuque, Iowa; Danville, VA; Wichita, Kansas; and Clarksburg, West Virginia. By 1909, Moses’s resume recorded that he had supervised the creation of eighteen Scottish Rite scenery installations.

Masonic work now made up between 25% and 30% of all projects in the Sosman & Landis studio. The Scottish Rite was growing extremely fast. Newspaper articles even detailed the necessary qualifications for Scottish Rite membership: “An applicant for the degrees of the Ancient and Accepted Scottish Rite must be an affiliated Master Mason of good standing and a resident of the state of Kansas” (Topeka State Journal, 19 March 1909, page 1).

During 1906, Thomas G. Moses wrote, “The New Year found me at work on some new work for Topeka, Masonic Hall. Very nice work.” The “Topeka Daily Capital” reported, “The Scottish Rite bodies of Topeka purchased the building now occupied by the local Masonic bodies three years ago, and they have spent over $20,000 in the last four months in furnishing a lodge room that will compare favorably with any in the United States. A new stage thirty-five feet in depth has been built, and it is said to have more scenery than any other in the country. There are 110 drops, over one hundred of which are the property of, and will be used by, the Scottish Rite in conferring their degrees, which are peculiarly adapted to stage work. The electrical effects that can be produced are almost without number, and are controlled by a marble switch-board eight feet long.” (21 Feb. 1906, page 5). Sosman & Landis delivered the scenery to the Masonic building located on Jackson Street in Topeka, Kansas. $15,000 worth of scenery had been sold to the Valley of Topeka.

Although Freemasonry might be considered a “secret” society, the identity of incoming members was often published in the local newspaper. In many ways, membership growth and the construction of Scottish Rite theaters across the country became quite a competition. Scottish Rite membership was on the rise and it meant something to be associated with the Fraternity. Spring and Fall Scottish Rite Reunions were big news in many areas. I have heard so many people say, “My grandfather was a Scottish Rite Mason, but he never spoke of it and we had no idea what he did.” I believe that communities from the first decade of the twentieth century had a pretty good idea of what happened during Scottish Rite Reunions. Schedules were published, candidates were listed by name, and impressive images of Scottish Rite building interiors dominated newspapers around Reunions time. Sure, not ever detail was provided, but one was able to gather quite a bit of information pertaining to the various events and banquets held throughout the Reunion.

The “Topeka State Journal” described the four-day Fall Reunion from November 8-11, 1909, in great detail. It was the thirty-third semi-annual gathering and included a Scottish Rite Class of 100 candidates (30 Oct. 1909, page 6). Images included with the article, pictured two stage settings for the Peristyle Scene (3^rd Apartment of the 18^th Degree) and the Egyptian Scene (31^st degree Hall of Justice).

“Topeka State Journal,” 30 Oct. 1909, page 6

Slide taken by Professor Emeritus Larry Hill of the Peristyle cut drop in Topeka, Kansas. A different backdrop was paired with it for this picture.

The fact that they pictured two stage settings used during degree work is mind boggling to me. This was a “look at the cool stuff we do” moment for area Masons.” I am including a few paragraphs about the Topeka Reunion as it really provides some historical context for the Fraternity using media to entice new members across the country. One just had to read the paper to understand the extent of activities happening at the Scottish Rite in many cities at this time. Here is a small section of the article from the Topeka State Journal:

“The Rite of Freemasonry called by the French writers the ‘Ancient and Accepted Scottish Rite,’ which title is now generally adopted as the correct one, although one of the youngest of the Masonic Rites, having been established not earlier that the year 1801 is today one of the most popular and extensively diffused. Supreme councils and governing bodies are to be found in almost every country of the world and in many of them it is the only Masonic obedience.

Outline of Work.

In speaking of the new features among the detail program of the reunion this fall, William M. Shaver, director of the work said: ‘With a view to placing candidates who reside outside of Topeka on the same basis with those who reside in Topeka, as nearly as may be, as to the cost of obtaining the Scottish Rite Degrees, the Topeka bodies have adopted a new rule which will go in to effect with this coming fall reunion. The rule is this: Non-residents of Shawnee county, who take the entire series of degrees form the 4 degree to the 32 degree inclusive at the same reunion, will have refunded to them their actual railroad expense from their home to Topeka and return…The bodies will continue to bear the hotel expense of candidates as has been the custom on the past.”

Topeka was trying many new things to increase membership. Earlier that year, “The Topeka Daily Capital” reported, “The Topeka bodies of the Scottish Rite began their evening class work in the Lodge of Perfection degrees at the Masonic temple on Friday evening. This evening work is designed for the accommodation of Topeka Masons who thus avoid the loss of time in business hours necessarily attendant upon regular reunion work and the plan is increasing in favor. About one hundred and twenty-five members and visitors sat down to a 6 o’clock supper in the new banquet hall and this number was largely increased as others dropped in later in the evening to see the work. A number if sojourning legislators and politicians were among the visitors” (25 Jan. 1909, Page 8).

The Topeka Scottish Rite figured something out in 1909, they had to invest in their members and understand their outside obligations that may prohibit men from joining. They took this into account, and made it possible for many more men to join.

To be continued…

Tales from a Scenic Artist and Scholar. Part 567 – Thomas G. Moses and the McAlester Masonic Job, 1907

Part 567: Thomas G. Moses and the McAlester Masonic Job, 1907

In 1907, Thomas G. Moses wrote, “South McAlister Oklahoma was a good Masonic job.” He was referring to the second scenery installation delivered to the Scottish Rite in McAlester, Oklahoma by Sosman & Landis. Moses was also involved with the delivery of the first and third installation to the McAlester Scottish Rite. For me, everything gets exciting at this point in Moses’ diary as many of the Scottish Rite installations that he worked on are still hanging in theaters across the country.

The scenery created for the Scottish Rite in McAlester, Oklahoma, now hangs in Salina, Kansas.

Looking up into the flies above the Salina Scottish Rite stage. This is the original scenery and stage machinery created for the McAlester Scottish Rite in 1907, as recorded by Thomas G. Moses.

The used McAlester Scottish Rite scenery collection from 1907 is now used in Salina, Kansas. The drops are clearly marked with the original delivery location of “So. McAlister,” or sometimes, “McAllister;” the same misspelling that Moses used in his diary. Other charcoal notations on the scenery note the original size of 18 feet high by 36 feet wide.

The scenery in Salina, Kansas, will have the original shipping notes for McAlester, Oklahoma.

Here is the story of the three scenery installations for McAlester – 1901, 1907 and 1929. In 1901, Sosman & Landis delivered the first scenery installation to “South McAllister.” By 1907, there was the construction of a second theater that necessitated the purchase of a new scenery collection for McAlester, Oklahoma. As with many first-generation Scottish Rite scenery collections, it was returned to the studio for credit on a new purchase to be refurbished and sold to another venue.

The first Scottish Rite theater in McAlester, Oklahoma. Scenery for this stage was purchased by the Scottish Rite in Santa Fe, New Mexico, to practice with while building their own theatre.

The first 1901 collection was sold to the Scottish Rite in Santa Fe, New Mexico during the planning phase for their 1912 building. The purchase of the used scenery was requested by the SGIG (Sovereign Grand Inspector General) of New Mexico, Harper S. Cunningham. Cunningham was previously the SGIG to Oklahoma and instrumental in integrating theatrical productions as part of Scottish Rite degree work. He was known as the “Temple Builder.” When Cunningham requested that the Santa Fe Scottish Rite Bodies purchase the used McAlester scenery collection, he intended that the purchase old McAlester scenes would prepare the members for their new theatre; they would understand the logistics of theatrically staging degree productions.

At the time of the used scenery purchase, the Santa Fe Scottish Rite Masons met in a standard lodge room – the Masonic Hall on Water Street near the center of town. Like many Masonic meeting rooms, it was located in an upper-level space and was rectangular in format. In 1908, the hall was renovated to include a small stage for the McAlester, Scottish Rite scenery – this was also common practice at the time.

Scottish Rite drop curtain in McAlester, Oklahoma, that was purchased by the Scottish Rite in Santa Fe, New Mexico.

Same drop curtain from McAlester, Oklahoma, pictured at the Masonic Hall in Santa Fe, New Mexico.

I made this discovery while doing research for the book “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018). I recognized the drop curtain in a few historic photographs that were being used in another chapter. The drop matched images that I took of a historic McAlester Scottish Rite photograph. I compared the two sets of historic photographs and realized that they matched! The first-generation scenery is no longer in existence, with the exception of a possible grand drape piece that was rolled up and stored in wardrobe.

Notice grand drape pictured in the first-generation Scottish Rite theatre in McAlester, Oklahoma.

Detail of the grand drape pictured in the first-generation Scottish Rite theatre in McAlester, Oklahoma.

Detail of the same grand drape in the Masonic Hall in Santa Fe, New Mexico.

Masonic Hall in Santa Fe with stage that housed the used first-generation McAlester Scottish Rite scenery.

As with McAlester, both the first-generation and second-generation scenery collections for the Santa Fe Scottish Rite were produced by Sosman & Landis, a subcontracted project from M. C. Lilley & Co. Bestor G. Brown, western sales manager for M. C. Lilley, would contract all of the theatre work for a Scottish Rite theater and then subcontract portions of it, such as the scenery to Sosman & Landis and the lighting to Frank Adam electric.

When the third McAlester Scottish Rite stage was planned, their second scenery collection was sold to the Scottish Rite in Salina, Kansas, for their new building during 1927.

Painted detail of a scene created for the Scottish Rite in McAlester, Oklahoma, now hanging in Salina, Kansas.

In Moses’ scrapbook, he pasted a newspaper clipping about the used McAlester Scottish Rite scenery collection that was purchased by the Salina Scottish Rite in 1927. The article reported, ”The one hundred and seventeen drops of scenery that has been in use on the old stage for twenty-five years, has been sold to the Scottish Rite Bodies of Salina, Kansas, and it has been shipped to them. There was nearly a carload of it. Brother John T. Leibrand, 33°, Wise Master of South McAlester Chapter of Rose Croix, negotiated the sale to the Salina brethren who came to McAlester to inspect it. The scenery was painted by Brother Tom Moses under the direction of that great Scottish Rite Mason and student Bestor G. Brown, and was said to be the finest in the Southern Jurisdiction at the time. Brother Tom Moses is painting the scenery for our new stage settings. He is also building stage properties, and all will be the last thing in that line. The brother that does not see this great stage and these wonderful properties at our Fall Reunion will miss something. The Salina brethren are negotiating with Brother John G. Redpath, who had charge of the old stage for years, to superintend the hanging of the drops in their temple.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 557 – Home for the Holidays, 1906

Part 557: Home for the Holidays, 1906

Thomas G. Moses wrote, “Pitt, Stella and Baby Eleanor arrived home for Christmas.”

During the summer of 1906, “The Oak Park Leaves” reported, “Mr. and Mrs. W. Pitt Moses of Trenton, N.J., are the proud parents of a baby girl, who arrived Sunday, July 29. The father is the son of Mr. and Mrs. Thomas G. Moses of 233 South Euclid avenue” (4 August 1906, page 10).

Tom and Ella had four children: William “Pitt” Moses (1879), Mary “Mamie” Titcomb Moses (1881), Lillian Ella Moses (1886), Thomas “Rupert” Moses (1889). Moses recorded that Pitt and Mamie were the mischievous pair of the four when they were young, keeping his wife Ella on watch every minute.

As the first child to become an adult, Pitt followed in his uncle Frank Moses’ footsteps. In 1900, he moved to Trenton and worked at the gas plant in New Jersey. Three years later, he married Stella Martin of Trenton. Moses’ youngest son, Rupert, entered the theatre manufacturing business with his father. The girls were married and became homemakers. Lillian married George Salzman in 1910. Mamie married William Hanover in 1911. Last, but not least, Rupert married Ula McNeill of Ames, Iowa in 1914.

By 1917, Moses wrote, “Pitt came out for a short visit and for the first time in twenty years, we had only the four children at home for a dinner. They were not allowed to mention their families. We sat each in their accustomed place. We all enjoyed it immensely. It carried us back many years when we were all much younger. I wish we could do it every year.” That same year, Moses wrote, “Stella and the girls arrived on December 22^nd. Pitt came out on the 24^th. We certainly had some family this Christmas – 17 at the table and two in the kitchen, and we had a fine dinner. I had Eugene Hall come to the house and pose us and he got one good negative. Had to use a flash as the light was very poor. I have wanted this for a good many years, and I am pleased to get it, even if it is not as good as a gallery picture.” I would love to find this picture.

Because Rupert and his father worked together, the two families would occasionally share the same home, sharing everything from food to scarlet fever over the years. Although his eldest son Pitt lived far away in Trenton, New Jersey, Moses passed along fatherly advice across the miles in the form of letters.

In 1931, Moses wrote to his eldest son,

“My dear Pitt.

Many thanks for your letter of congratulations and expression of your love. I am very thankful to know and receive both of them. As the 75 years bear down on me I often wonder if my life has been worthwhile to myself and others. While I have been partly successful in many ways. I have failed to reach the goal I set for myself fifty odd years ago. But the domestic side of my life has been a very happy one in choosing a wonderful mate, and who has not only been a good mother to our four healthy children, but a good help in sifting out many financial difficulties that are bound to come in our lives.”

1931 letter to William “Pitt” Moses from his father Thomas G. Moses

Fortunately for us, John H. Rothgeb (University of Texas) corresponded with many of Moses’ descendants, by gathering copies of letters written by Moses near the end of his life. At the time, Rothgeb was researching the life of Moses, as well as the history of the Sosman & Landis studio. This was during the 1970s and early 1980s. He left an enormous wealth of information in the Harry Ransom Center in Austin, Texas. Rothgeb was the second generation to identify the significance of Masonic scenery. The first generation was James “Jim” Maronek, a Chicago scenic artist who collected many Sosman & Landis artifacts during the 1960s. He even held the first exhibit placing Masonic scenery within the context of theatre history; this was during the early 1960s.

The third generation of scenic artists to study Moses and Masonic scenery was Lance Brockman at the University of Minnesota, hence how I became the fourth generation. Early in my undergraduate career I created an index for Moses’ typed memoirs and scrapbook for Brockman as a class project. I was also the assistant to the curator (Brockman) for the Theatre of the Fraternity exhibit in 1996. This was when I wrote letters to all known descendants of Thomas G. Moses.

During this same time, I came in contact with another student and friend of Maronek, one who became the paint charge at Chicago’s Lyric Opera. Like me, Brian Traynor became fascinated with Moses and his contemporaries. He actively collected materials and other information pertaining to historical scenic art. I have remained in contact with Traynor over the years and we have become friends. He is an amazing source of information and artifacts relating to the Chicago scenic art scene, while remaining a professional scenic artist. Traynor was also the one who contacted me about the Scottish Rite collection in Peoria, Illinois, when the Valley was getting rid of it. We worked together in search of a new home, but when no university or museum was willing to receive the donation, I rented a truck and took it home.

Without my predecessors, Maronek, Rothgeb, Brockman and Traynor, I would not be able to successfully tell the story of Thomas G. Moses.

To be continued…

Travels of a Scenic Artist and Scholar: The Kansas City-Deadwood Connection, November 3, 2018

Last fall I evaluated the Scottish Rite scenery collection in Deadwood, South Dakota. On site findings suggested that the Deadwood Scottish Rite had purchased a new scenery collection from Twin City Scenic Co. around the turn of the century and two used scenery collections after that. The Deadwood Scottish Rite purchased one scenery collections from the Scottish Rite in Joplin, Missouri (1902) and another one from the Scottish Rite in Kansas City, Kansas (1904). There are many drops still waiting to be discovered, rolled up and stored above the stage. There were also a few other pieces added over time, including a set for the Shrine. Twin City Scenic records from the year 1940 also note that the studio did business with the Deadwood Scottish Rite that year too. Interestingly a fly loft and stage were not added to the building until 1961. Prior to that time, the Scottish Rite Masons temporarily hung the scenes, storing them in the basement.

1919 picture of 47 DeMolay members in Kansas City with the backdrop that is now in Deadwood, South Dakota.

Backdrop at the Scottish Rite in Deadwood, South Dakota.

Fast forward to yesterday at Lance Brockman’s house. I was picking up a some files and books. As I started to merge our two records at home last night I made a startling discovery. In his materials, there was a 1927 program for DeMolay. I quickly paged through it before putting on an archival sleeve. Only a few pages into the program, I stopped in shock. I was looking at the same drop that now hangs in Deadwood!

1927 DeMolay Program with backdrop now at the Deadwood Scottish Rite.

Here is a link to the full history of the Order of DeMolay: https://demolay.org/history/

Book plate on the 1927 program with the Deadwood Scottish Rite drop, pictured in 1919 in Kansas City.

I immediately phoned my South Dakota Scottish Rite contact, Mike Rodman, sharing the exciting news. It was perfect timing. Tonight is the Deadwood Scottish Rite Quasquicentennial celebration. They are celebrating 125 years of building community partners and building Masonic Brothers. Activities start at 4:00 pm today! Rodman is planning to share my discovery tonight at the event.

Event in Deadwood tonight – November 3, 2018.

This backdrop was pictured in the 1927 program alongside the first forty-seven members to join DeMolay. From this youth order started in 1919, it grew to a membership of a quarter of a million young men by 1927.

However, this may not be a drop specifically created for DeMolay. Over the years, many class pictures were taken in front of Scottish Rite or York Rite scenery, wherever the boys met. It is possible that this backdrop was for a Masonic order other than DeMolay. Regardless, we know that the beautifully painted scene came from Kansas City and was hanging in 1919.

To be continued…

Tales from a Scenic Artist and Scholar. Part 543: Bestor G. Brown and the 1906 San Francisco Earthquake, continued

Part 543: Bestor G. Brown and the 1906 San Francisco Earthquake, continued

The San Francisco earthquake struck in the early morning hours on Wednesday, April 18, 1906. Bestor G. Brown provided an eyewitness account for the “Topeka Daily Capital” (April 25, 1906, page 7). Here is the second half of the article.

“Thursday is the day when the real horror of the situation came. The boats which came across the bay from San Francisco were packed with people who looked like they had fought to get on the boats. I left Oakland on the Southern Pacific on Thursday and all the tracks could be seen the effects of the earthquake. Every water tank along the line had been thrown down. I suppose that the vibration from the earthquakes set the water to slopping from side to side in the tanks and as the affairs are ordinarily top heavy they went over.

“This is not the first earthquake I have felt in San Francisco. I went through a small one there last August. I understand that they are comparatively common there. I am no scientist and do not claim to be able to tell why San Francisco is so frequently visited by earthquakes, but I am inclined to think that the peninsula on which the city s located has been thrown up by some volcanic forces. The Indians, so I was told some years ago, have a tradition that some monster of the ocean built it for a place to rest. The Indians never landed there from their canoes and never camped there. So I am inclined to think that they knew hundreds of years ago that this region was subject to earthquake shocks.

“What impressed me was the supreme confidence the people had in San Francisco. There was no excitement on the streets after the earthquake. Most of the people were in the streets but they were all cool. There was no panic in San Francisco on Wednesday, at least. The cars were not running. It never occurred to me to wonder why. I suppose it was on account of the power being cut off.

Looking up Market Street from Ferry in San Francisco.

Market Street on Fire, looking east to the Ferry building from Fremont Street.

“I saw Market street shortly after the first shock. There seemed to be three distinct waves or swells in that part of Market street which I saw. The car tracks, asphalt pavements and sidewalks seemed to have been left in dips and swells. There was some debris in the street, broken glass, cornices, etc., but the damage would have been small if it had not been for the fire.

Street damage after the 1906 San Francisco earthquake

The remains of the Monadnock building in San Francisco after the earthquake and fire in 1906

“The Monadnock building, west of the Palace Hotel, seemed to have had its pillars shoved out from the walls of he buildings but did not seem to be greatly damaged. The Palace hotel on the outside showed no effect form the shock except that a few bits of cornice had been shaken to the street below.

“The city hall was the worst wrecked building of any I saw. They say that political jobbery figured largely in its construction and the complete ruin of the building seemed to bear that out. The framework of the dome was still standing when I saw it and did not seem greatly damaged. But the rest of the building at the base of the dome was twisted and smashed and totally wrecked by the earthquake.

Damage to City Hall after the San Francisco earthquake and fire, 1906

Postcard showing damage to City Hall after the San Francisco earthquake and fire, 1906

“The Palace hotel did not look like it had received a scratch while a saloon across the street had its entire front thrown out into the street. The sidewalks along the streets were covered with loose bricks, broken glass and cornices. I saw the Call Chronicle and Examiner buildings and they did not appear to be even damaged. It was the fire which destroyed them.

“From Market street I could see the flames starting on Montgomery and Mission streets and closing in towards the center of town. One fire seemed to me to start in, or near, the Grand opera house. The origin of those fires is something they have not satisfactorily explained. Many seem to think that they were started by crossed wires but from what I know of crossed wires I do not agree with that theory. I do not think that the fires could have started so quickly from crossed wires, if they could have started at all. I think that probably the power houses were wrecked as soon as any and that the current would have been shut off before the crossed wires could have started any fire. I am rather inclined to think that the fires were caused by the individual power and electrical light plants which some of the buildings are contained. Most of these places were operated by steam and the earthquake occurred at a time in the morning when the fires would have just been started under the boilers. The earthquake seemed to throw down anything built of brick and as most of these boilers were bricked in I think that their brick walls were thrown down and the destructive fires started from the debris thrown into the fires which had been lighted under the boilers.

The San Francisco Scottish Rite after the earthquake and fire in 1906

“The brick buildings were the ones that suffered most from the earthquake. The earthquake seemed to throw the four walls of the brick buildings outward. I saw one man in Los Angeles Thursday night who had gone through the earthquake at Santa Rosa. He said that he was afraid to go to bed that night and I asked him why. He said that the night before he had gone to sleep in the third story of a hotel in Santa Rosa and had waked up in the street. I didn’t believe him and so he explained. He said that he had gone to bed in the third story of a three story hotel. He woke up all covered with plaster and rubbish and ran to the window of his room. He had said that he thought the building was on fire and that the roof had partly fallen in, so he called for someone to bring him a ladder so that he could get out. Someone in the street asked him what he wanted with a ladder and told him was in the street and to walk out of his window. He did and climbed over a pile of rubbish that had formerly been the first and second floors of the hotel into the street. He climbed back into the room again and found and put on most of his clothes. He told me that he did not know what happened to the people who were asleep on the lower floors of the hotel but that he supposed they must have been killed.

“The great damage in San Francisco was caused by fire. I suppose that it could have been successfully checked almost before it got started but the water supply gave out completely. I don’t know why it was but I know that it did and that I couldn’t get a drop of water to drink until I got to Oakland in the afternoon. I should judge that the failure of the water supply was due to the earthquake breaking the mains. I know that this was the cause of the water supply failing in Oakland. The big mains which carried the water from the pumping plant into Oakland were broken and disjointed by the shock so that Oakland was without water for a large part of the day and would have been completely at the mercy of fire as San Francisco of a fire had started. But 1,500 people of all classes turned out and mended the Oakland mains so that they had water again in the afternoon.

“The thing that impressed me the most as I waked through the streets of San Francisco after the earthquake was the absolute confidence the people seemed to have in their city. They were perfectly cool, probably on account of having gone through so many slighter shocks. The shock occurred at 5:30 o’clock. It wasn’t difficult to know the exact time as every clock in the city stopped on the minute that it happened. The people came down town at the usual tie and many of them entered their offices as though to do their usual work. Some of the merchants opened their stores.” The end.

Damage after the 1906 San Francisco earthquake and fire.

To be continued…